CURRENT & UPCOMING Exhibitions



Greg Staats: nahò:ten sa’tkahton tsi niioháhes? / qu’est-ce
que vous avez vu en chemin? / what have you seen along the way?

curated by Hannah Claus

February 3 - April 6, 2024



What have you seen along the way?
Curatorial essay by Hannah Claus

This question resonates with me throughout my conversations with Greg Staats. It is the question posed by the Peacemaker to Aionwatha: we need to share all that we bring with us, so that we may add these ideas and extend the rafters of the figurative longhouse that is the Rotinonshonni Confederacy.

Our responsibility as Rotinonshonni lies in keeping balance through rendering order to chaos. One of the ways this can be seen is through the recitation of the Ohénton Karihwatéhkwen [The Words Before All Else], in which we greet, name and acknowledge all that is around us. We begin within ourselves and extend outward to the Lower, Middle and Upper Worlds. When speaking these words, we recognize the relationships that connect us to all of creation. The process of this recitation brings us closer to a good mind and being a part of the Great Law of Peace.

The complication in trying to walk this path is that we live in a post-contact colonial world. The Peacemaker has given us our instructions, but language, communication, ways of being and doing, have broken down. In this constant state of disruption, we continuously adjust our positionality to negotiate colonial reality. Do’-gah - I don’t know [shrugging shoulders] speaks to this state of liminality: caught between footsteps we are rendered language-less, expressing our non-engagement through a shrug, in this way building up a reflexive layer of protection through repetition and time.

Do’-gah - I don’t know [shrugging shoulders] is placed on the outer wall before you enter the gallery space. At The Edge of the Woods, if you will. This is to underscore the sacred sense of safety of an emotional architecture that is the gallery. As when under the rafters of the longhouse, here we may gather to collectively express, listen and share.

A good mind is non-judgemental: it accepts, observes, listens. For Staats, this is his work as an artist. His images are intuitive mnemonics that take the place of his missing language. The series 1969 names chaos as a resonant echo, regrouping the local and familiar with larger external forces: from black mold staining a ceiling; to the cover of The White Paper,[1] and even greater, an image from Altamont.[2] Staats appropriates this image by photographer Beth Bagby through an addition of a mnemonic[3] to its surface, in this way reuniting the female [gaze] and male [responsibility]. These stand as evidence of chaos and protest with other visual signposts included to provide balance and forward movement: sumac, pine, ashes… – signifiers of healing, protection and encouragement.

The Peacemaker said, “All who wish to join the Great Peace may follow the roots of the Great White Pine.”

The white pine was chosen as a symbol of the Confederacy as it was the largest, strongest tree. Everlasting. An eagle sits at its top to watch and call out. We are that tree. With a clear mind, we have that vision of eagle. Yet behaviour resulting from chaos gets in our way. In Untitled [white pine roots] we see a close-up of the ground crowded with roots peeking through its surface. These are both the white roots of peace, an invitation, but also silent indicators. As Rotinonshonni, we hold “the faces yet to come” foremost in our actions. However, we must acknowledge this earth also tragically holds the ancestors who never were. We need that strong voice of Eagle.

In the journey back to the longhouse, the goal is to “cross the threshold”. The wampum installation, Untitled [renewal portal], expresses this penultimate destination. White is Truth. It is an invitation to live under the Great Law of Peace, to live with compassion. As a portal to the hold of community, this installation represents a constant embrace, as well as the desire of potential. The decision to take that step, to cross the threshold, is yours.

This is our journey. This work we are doing with integrity, responsibility and autonomy, is both for ourselves and for community. For Staats, “crossing the threshold” is the endgame. Within the longhouse, we bring with us all that we carry now in this time of post-contact and dispersion. Our triumphs and mistakes all have meaning. And as we keep adding to the rafters, the collective continuum that is the Good Mind and the Great Peace, continues to grow.

Skén:nen.



[1] https://www.thecanadianencyclopedia.ca/en/article/the-white-paper-1969
[2] https://www.washingtonpost.com/graphics/2019/lifestyle/altamont-rolling-stones-50th-anniversary/
[3] The symbol represents one of the fifty [male] Haudenosaunee titleholders, Tiohnekwen, of the Wolf Clan.


Nahò:ten Satkáthon tsi Niioháhes?
By Hannah Claus

Kí nahò:ten kari’wanóntha wakonnién:ni thénon akatkátho tsi nikarí:wes teionkení:thare ne Greg Staats. Ne ni’ óni rori’wanontón:ni Ayenwátha ne Skén:nen Rón:nis: kari’wanóntha sha’taetewátste nahò:ten ientewá:hawe, oh naiá:wen’ne iaetewahsón:teren tsi kanénhstahere ne kwah tokén:en ahontkátho ne kanonhséhsne, né:ne Haudenosaunee Raotitióhkwa.

Tsi nahò:ten ionkwaterihwaién:ni ne Haudenosaunee né ki’ ne sha’taióksteke tsi aietión:ni ne taonni’tón:ni. Énska tsi nakaié:ren ne aiontkátho né:ne aiaié:ron ne Ohén:ton Karihwatéhkwen (The Words Before All Else), e’tho tentewatenonhwerá:ton eniethina’tón:nion naho’ténshon teionkwahkwatasé:ton. Í:i entitewatatié:renhte thóne ientewatahsón:teren Ehtà:ke, Ahsennónkha tánon ne É:neken tiohontsá:te. Nónen entewén:ron ne owenna’shón:’a entewaién:tere’ne tsi na’tetewá:tere tánon tsi tetewá:neren nahò:ten rohsaá:nion. Tsi entewawenninéken’ne sénha ki’ ákta enkénhake ne ka’nikonhrí:io tánon ne Skén:nen.

Nahò:ten kaio’tats aionhtén:ti tsi niiohahó:ten ne tsi niiawénhseron shahón:ne kénthon ne ákte nithoné:non. Ne Skén:nen Rón:nis shonkwarí:honte tsi naetewá:iere, nek tsi onkwahrokhátshera, taetewatharón:nion tsi naetewá:iere ne thénon iah tetsoió’tens. Kí: tió:konte tetkaríhshions ne thénon ktitió:konte tsi tewakwatá:kwas tsi nónwe nitewáte aetewathárahkwe ne orihwí:io tsi niiawén:en. Do’-gah – tóka (teiontnenhsohrokhons) wathró:ris tsi teió:ken tsi sanonhtón:nions: tewaia’totáhrhon tsi na’tetiá:tere tsi tetewate’khahákhwa, iah tetsonkwahrokha’tsherá:ien, tha’tentewatnenhsó:roke tsi tentewarihwa’será:ko, ne e’tho ní:ioht aetión:ni ne aontaionkwáhnhe tsi nek tetewatahsáwha.

Do’-gah – tóka (teiontnenhsohrokhons) átste nonkwá:ti nonhsónhtati ohén:ton iasataweia’te ne tsi teshakotina’tón:ni. Tsi Iotéhrhate, tóka’ íhsehre. Iorihowá:nen kí:ken tsi ní:ioht tsi káhson iah ki’ thaesahteron’ne tsi nónwe ne shakotina’tón:nis. Nónen nà:kon íhse’s ne tsi kanénhstahere ne kanonhsésne, ken enwá:ton entewatia’taró:roke skátne tsi aetewathró:ri, aetewatahónhsatate tánon sha’taetewatste ne thénon.

Iah tha’tekaia’torétha ne ka’nikonhrí:io, karihwanón:we’s kakaén:ions tánon watahónhsatats. Ne Staats raorihwáke ne ki’ ki ne raráhstha raoio’ténhsera. Ne tsi nihaia’tó:ten, watié:sen ahonwa’nikonhraién:ta’ne, rehiarahtsherí:io ne kenna’teiá:wens tsi rotion ne raohrokhátshera. Ne 1969 ioiakén:en wathró:ris ne teioni’tón:ni tsi kawennotátie tsi tetiowennón:tie’s, shatikwatá:kwas ne kén:en tánon ne sénha ákte nitiawé:non, kahòn:tsi ní:ioht tsi kentskará:here; tsi niió:re rati’rhó:roks Ne Kahiatonhserarà:ken; tánon sénha ietsóhskats Altamont nitiawé:non tkaráhstha. Ne Staats ráton testiatié:ren tsi ní:ioht tsi ieráhstha ne Beth Bagby tho iewasón:tere ne iakehiarahstáhkhwa ne é:neken tho ní:ioht tsi skátne iá:tons ne ión:kwe (teieká:nere) rón:kwe (roterihwaién:ni). Ne ki karihwahní:rats tsi teioni’tón:ni tánon ratirihwá:ia’ks ne ktiká:te kahiatonhseróhare wathró:ris ka’niá:ien tánon óni ne aontahontka’we thénon sha’taióksteke tánon iaionhtén:ti: tará:kwi, onèn:ta, wa’kenhróntakwen… ne kéntons aiakó:tsen’te, shakoti’nikón:rare tánon aiako’nikonhraníhrha.

Ráwen ne Skén:nen Rón:nis, “Akwé:kon ne ónhka í:ienhre aiontiá:taren ne Kaianere’kó:wa iéhsehr ki’ ne Kowá:nen Karà:ken Onèn:ta aohté:ra.”

Né:ne Karà:ken Onèn:ta kará:kwen taontonte’nienténhston ne Raotitióhkwa ne tsi ne aonhá:’a karontowá:nen, ka’shátste. Tekahwishátste. À:kweks karontakén:iate réntskote ahaten’nikón:raren tánon ahathró:ri. Í:i ne karón:ta netewaia’tó:ten. Iah the teiot ne onkwa’nikón:ra tewakahrí:io tsi ní:ioht ne à:kweks. Tánon tsi teioni’tón:ni ionkwaio’tá:ti tsi ní:ioht tsi tewatoriá:nerons. Ne iah teiohsén:naien (karà:ken onèn:ta aohté:ra) ákta tsi entewakaén:ion ne ohontsá:ke ktitká:here ohté:ra teio’kenhrohétston. Tetsá:ron ki né:ne karà:ken ohté:ra ne Skén:nen, wathonkará:wis tánon sahk thíken tsi nikaié:rha. Tsi iáwe Haudenosaunee netewaia’tó:ten tewáhawe ne tahatikonhsotóntie, ne ohén:ton í:kate tsi ní:ioht tsi tewatoriá:nerons. Ne ki’ aorí:wa tewaién:tere’ ne ohóntsa ne ioronhiakentsherowá:nen ne iethisothokon’kénhen tsi iakoienawá:kon ne iah nonwénton thethoné:non. Teionkwatenhontsó:ni tahohénrehte ne rawenna’shátste À:kweks.

Tsi nientsitewe ne kanonhsésne, teiontió:ien ne “ia’taetewatehnhohawén:rate.” Ne onekóhrha kakwatá:kwen, iah teiohsén:naien (á:se tsi tekahnhoharó:ho) ne wathró:ris énska khok ónen iénsewe. Karà:ken né:ne Orihwí:io, ne ionkwahonkará:wis karontó:kon iaetewátien ne Kaianere’kó:wa ne Skén:nen. Tsi ní:ioht ne kahnhoká:ronte ne kanakerahserá:kon, kí tsi ní:ioht tsi káhson né:ne  tiókonte aiakohwe’nón:ni tánon aiokwé:nion ne thénon. Ne ia’takarihwaién:ta’ne ia’tahsate’khahákwe, ahsatohétste tekahnhoharóho; íse ki nen’ ne’ ó:nen.

Tho ní:ioht tsi ionkwahtentionhátie. Ki tsi ní:ioht tsi ionkwaio’te iottakwaríhshion, aionkwaterihwaién:ni tánon aiakwatkó:rahste, í:i onkwarihwá:ke tánon ne onkwanakerahserá:kon ne Staats raorihwá:ke ne “ia’tahatehnhohawén:rate” tho nenwatókten. Ne kanonhsésne, ientewáhawe nahò:ten ki nónwa ionkwaien ákte’ nia’taionreniá’te tsi nihotiié:ren. Nahò:ten ionkwatkwé:nion tánon teionkwatewen’tawenrié:on akwé:kon thénon kéntons, tánon tsi iaonkwatahsonterátie ne kanénhstahere, nahò:ten karó:ron ne ne ohna’kénkha ktiiaonhá:’a tsi ní:ioht né:ne Ka’nikonhrí:io tánon Kaianere’kó:wa ne skén:nen, iaotahsonterá:tie iotehiarón:tie.
Skén:nen.


Martin Rodriquez: Ehécatl, comme le vent souffle dans toutes
les directions / Ehécatl, as the wind blows in all directions

February 3 - April 6, 2024



Ehécatl, as the wind blows in all directions
essay by Mariza Rosales Argonza

Once you've crossed the border, you can't really go back.
Every time I tried, I found myself "on the other side",
as if I were walking forever on a Moebius loop.
Guillermo Gomez-Peña


Martín Rodríguez's sound installation Ehécatl, as the wind blows in all directions explores the dynamic nature of mixed-race identity. The work presents a reflection on coming to an awareness of his Indigenous heritage as the wind blows across the abysses of territory and memory. It also addresses the complexity of the migratory experience, liminal spaces and the notion of territory, where narratives, temporalities, real and symbolic spaces in perpetual mutation are superimposed.

Sound is Rodríguez's principal material, and he explores modes of transmission across borders. His Chicanx imaginary, born of his cross-border upbringing in Arizona and Mexico, encourages him to explore the shifting process of identity and its relationship to territory. As Gloria Anzaldúa wrote, "Con palabras me hago piedra, pájaro, puente de serpientes arrastrando a ras del suelo todo lo que soy, todo lo que algún dia seré."[1]

In the installation, the notion of time is dislocated, and Rodríguez echoes ancestral voices and the recognition of his native heritage. He calls upon Mesoamerican mythology in the title Ehécatl, the Nahua word for the god of air and wind, often linked or assimilated to Quetzalcoatl and associated with the cardinal points of Aztec culture. The breath of Ehécatl inspires the installation's sound work, which was born from the recording of the artist childhood Eagle silbato (whistle) reverberating within an outdoor hockey rink in Tiohtià:ke/Montréal and mixed with recordings done in sites across turtle island (Rio Rico, Cuernavaca, Seattle, New York).

The recording was shared with four collaborators who have links with the artist as well as with a significant place and period in his life, so that the work moves around, opens a conversation, and brings together personal experiences. Each collaborator in turn played and simultaneously re-recorded the sound in an external location. Through these gestures of transmission, dialogue and superimposition of a recording from one person to another, the boundaries of identity and territory are diluted. Sound acts as a portal to trajectories, narratives and affects that cohabit in a dislocated time and space, inviting the public into introspective and provoking encounters, sensitive and intrinsically human experiences that resonate thanks to the artistic gesture.

The sound installation opens a timeless space, and the structure of the piece invites the public to explore the work in an investigation of meanings and frequencies by virtue of a sound spatialization composed of a constellation of five radios acting as reference points, guiding us into temporal void. These transmission channels communicate, superimpose and interact with each other, resonating with us through our bodies as we move through them, engaging us in a retrospective experience beyond time.

Like Borges' Aleph,[2] this liminal space becomes a point in space that contains all other points. Whoever peers into it can experience everything in the universe from all angles simultaneously; meaning expands and concentrates in the experience of a cosmos that unfolds within and without.

[1] Gloria Anzaldúa, Borderlands/La Frontera, The New Mestiza, Aunt Lute Books, 1999, p.70
[2] The Aleph (in Spanish: El Aleph) is the title of a collection of seventeen texts written by Jorge Luis Borges, published separately between 1944 and 1952 in various Buenos Aires periodicals. Borges' favorite themes are metaphysics, labyrinths and infinity. Translated by Roger Caillois, René L.-F. Durand, Gallimard, 1967.



UPCOMING Exhibitions


Cheyenne Rain Le Grande
title TBC
April 27- June 15

Cedar-Eve Peters
title TBC
April 27- June 15



daphne operates on unceded lands. We are proud to be a part of this urban island territory, known as Tiohtià:ke by the Kanien’kehá:ka and as Mooniyang by the Anishinaabe, as it continues to be a rich gathering place for both Indigenous and other peoples.

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